Formalismo

Structure, Musical [Str]  ]

Il formalismo musicale in genere si fonda sull’ipotesi che la musica possieda una grammatica e una sintassi che possono essere create e manipolate dal punto di vista della forma. Ciň implica che l’utilizzo di sistemi interni o esterni alla musica al fine di creare micro o macro strutture. Il termine č utilizzato a volte per designare l’insieme e le relazioni delle parti di un’opera (Fonte - http://www.faculty.de.gcsu.edu/ dvess/ids/courseportfolios/2310/handouts/art.html)

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Alvarez, Javier (1989). Rhythm as Motion Discovered
Barlow, Klarenz (1999). Methoden algorithmischer Klangerzeugung anhand eigener Arbeiten: Von Klanglomeration und Schwallwellenreiten zu Synthrumentation und Spektastik (Methods of Sound Synthesis based on my own works - [followed by his own untranslatable new terms]
Chang, Jae Ho (1999). Composing Noise
Criton, Pascale (2005). Mutation and Processuality in the Musical Thought of Horacio Vaggione
Dashow, James (2002). Looking into Sequence Symbols
DI SCIPIO, Agostino (1991). Caos deterministico, composizione e sintesi del suono (Deterministic chaos, composition and souns synthesis)
DI SCIPIO, Agostino (1995d). Riflessioni sull’analisi della musica elettroacustica e informatica
Di Scipio, Agostino (2002a). A Story of Emergence and Dissolution: Analytical Sketches of Jean-Claude Risset’s {Contours}
Doati, Roberto (1991). György Ligeti’s {Glissandi}: An Analysis
Fields, Kenneth (1999). PostFormalism
Garnett, Guy E. (2001). The Aesthetics of Interactive Computer Music
Harvey, Jonathan (1986). The Mirror of Ambiguity
Hatzis, Christos (1998). {The Law of One}: Recursive structures in composition
HILLER, L. A. (1965). Musikalische Anwendungen von elektronischen Digitalrechnern(Musical Applications of Electronic Digital Computers)
HINOJOSA CHAPEL, Rubén (2003). Realtime Algorithmic Music Systems From Fractals and Chaotic Functions: Toward an Active Musical Instrument
Koenig, Gottfried Michael (1979). {Projekt Eins} - Modell und Wirklichkeit ({Projekt Eins} - Model and reality)
Koenig, Gottfried Michael (1987). Genesis of Form in Technically Conditioned Environments
Laliberté, Martin (2005). An Analytic Approach to Horacio Vaggione’s {Till}
Laske, Otto (1999). {Furies and Voices}: Composition-Theoretical Observations
Loy, Gareth (1989). Composing with Computers - A Survey of Some Compositional Formalisms and Music Programming Languages
Machover, Tod (1986). A Stubborn Search for Artistic Unity
Makan, Keeril (2003). An Interview with Gerard Pape
Milicevic, Mladen (1998). Deconstructing Musical Structure
Miranda, Eduardo Reck (Ed.) (1999b). Música y nuevas tecnologías: Perspectivas para el siglo XXI (Music and New Technologies: Perspectives for the 21st Century)
MOLES, Abraham A. (1962). Das neue Verhältnis zwischen Musik und Mathematik (The new relationship between music and mathematics)
Piché, Jean (1981). Thoughts, Contentions, and Composition: Electronic Music 1981
Polli, Andrea (2004). Modelling Storms in Sound: The Atmospherics/Weather Works Project
Richard, Dominique (1996). Code - notes - music: An epistemological investigation of algorithmic music
Risset, Jean-Claude (2004). The liberation of sound, art-science and the digital domain: contacts with Edgard Varčse
Risset, Jean-Claude (2005b). Horacio Vaggione: Towards a Syntax of Sound
Sargenti, Simona (1995). Software per la definizione di strumenti nella musica elettronica: analisi e realizzazione di {Mikrophonie I} e di {Solo} di K.Stockhausen (Software for the definition of electronic music instruments: analysis and realization of {Mikrophonie I} and {Solo} by K.Stockhausen)
Simona, Sargenti (1995). Software per la definizione di strumenti nella musica elettronica: analisi e realizzazione di {Mikrophonie I} e di Solo di K.Stockhausen (Software for the definition of electronic music instruments: analysis and realization of {Mikrophonie I} and Solo by K.Stockhausen)
Solomos, Makis (2004). Xenakis’ Thought Through his Writings
Spiegel, Laurie (1989). Distinguishing Random, Algorithmic, and Intelligent Music
Supper, Martin (1997). Elektroakustische Musik und Computermusik; Geschichte-Ästhetik-Methoden-Systeme (Electroacoustic Music and Computer Music: History, Aesthetics, Methods, Systems)
Twombly, Kristian (2002). Oppositional Dialectics in Joji Yuasa’s {The Sea Darkens}
Ungeheuer, Elena (1999). Musikaliche Experimente in der musikwissenschaftlichen Forschung: Werner Meyer-Eppler und die elektronische Musik (Musical experiments in musicological research: Werner Meyer-Eppler and electronic music)
Vaggione, Horacio (1993). Determinism and the False Collective: About Models of Time in Early Computer-Aided Composition
Vaggione, Horacio (2005). Notes on {Atem}
XENAKIS, Iannis (1958). Auf der Suche nach einer Stochastischen Musik (In search of a stochastic Music)
XENAKIS, Iannis (1960/1961). Grundlagen einer stochastischen Musik (Elements of Stochastic Music)

 

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